PRICE  1£>  CENTS. 


DE  WITT’S  ACTING  PLAYS. 

(Number  227,) 


THE  OMNIBUS 

jfc.  Farce, 


I1ST  ONE  ACT, 


By  TYRONE  POWER. 


Jto  which  are  added, 

A  description  of  the  Costumes— Synopsis  of  the  Piece— Cast  of  the  Characters 
— Entrances  and  Exits— Relative  Positions  of  the  Performers  on 
the  Stage,  and  the  whole  of  the  Stage  Business. 


•  ♦ 


'.tbr- Sork  : 


CLINTON  T.  RE  WITT,  PUBLISHER, 

■Wo.  33  Rose  Street, 


(  A  COMPLETE  DESCRIPTIVE  CATALOGUE  OF  DE  WITT’S  ACTING! 

NOW  J  PLAYS,  AND  DE  WITT’S  ETHIOPIAN  AND  COMIC  DRAMAS,  containing! 

h?  jpj  a  TiV  y  Plot,  Costume,  Scenery,  Time  of  Representation,  and  every  other  informa-1 
^^^^joiL-inailftdL  free  and  post-paid. _ 


Return  this  book  on  or  before  the 
Latest  Date  stamped  below. 

University  of  Illinois  Library 


MY  3  0  195$ 


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1 


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X 


. 


OMNIBUS. 


H  E 


%  Jam, 


IN  ONE  ACT. 


.s 


BY  TYRONE  POWER. 


\ 


,  i, 

K 


TO  WHICH  ARB  ADDED 

DESCRIPTION  OF  THE  COSTUME— CAST  OF  THE  CHARACTERS— EN¬ 
TRANCES  AND  EXITS — RELATIVE  POSITIONS  OF  THE  PER- 
FORMERS  ON  THE  STAGE,  AND  THE  WHOLE 
OF  THE  STAGE  BUSINESS. 


NEW  YORK : 

DLXNTON  T.  BE  WITT,  PUBLISHER, 

No.  33  Rose  Street. 


I 


2 


THE  OMNIBUS. 


CAST  OF  CHARACTERS 

Chestnut ,  Phila.,  Park ,  2Vm  For# 
1833.  -  1837. 

Pat  Rooney . Mr.  Power.  Mr.  Power. 

Mr.  Ledger . Mr.  Faulkner.  Mr.  Fisher. 

Mr.  Dobbs . Mr.  Watson.  Mr.  Povey. 

Master  Tom  Dobbs . Mr.  II  ad  away.  Mr.  Placide. 

Farrier’s  Boy . Mr.  Eberle.  Mr.  Russell. 

Julia  Ledger . Mrs.  Walstein.  Miss  Turnbull. 

Mrs.  Dobbs . Mrs.  Thayer.  Mrs.  Durie. 

Miss  Damper . Mrs.  Broad.  Mrs.  Archer. 

Miss  Jcm’a  Damper . Miss  Lopez.  Mrs.  Conway. 


Park,  New  York, 1 
1848. 

Mr.  Brougham. 
Mr.  Bridges. 

Mr.  Povey. 

Mr.  W.  Chapman' 
Master  Eustace. 
Miss  Miles. 

Mrs.  Barry. 

Miss  Flynn. 

Mrs.  Burrows. 


TIME  OF  REPRESENTATION— FORTY  MINUTES. 


SCENERY. 

SCENE.— A  ball  in  a  country  house,  which  serves  as  the  apartment  in  genera 
use.  The  road,  with  a  patch  of  garden  in  front,  is  seen  through  glazed  folding 
doors.  There  are  lateral  doors  on  the  r.  and  l.  3  e.  A  buffet  on  one  side  is  opei 


Glass  Folding  Doors. 


3  R.  E.,  Door 


2  R.  E. 


1  II.  E. 


*3 


Door,  3  l.  e. 


Table. 


Cheffonier.l 

'*0 

Table. 


2  L.  E. 


1  L.  E. 


R.  C. 


L.  C. 


Orchestra. 


displaying  some  ornamental  china,  books,  packets  of  paper,  etc.  ;  on  the  top  are 
some  pasteboard  boxes,  variously  labelled,  “  Bills,”  “  Receipts,”  etc.  A  cheffonie  r 
and  table  stand  opposite  the  buffet ;  on  the  table  are  pens,  ink,  and  paper  ;  insid 
the  cheffonier  is  a  plum  cake,  already  cut.  Another  table  stands  in  the  centre  oil 
the  room,  upon  which  lie  a  clothes-brush  and  long-handled  feather  duster  ;  oij1 
each  side  is  a  chair. 


PROPERTIES. 

I 

Tray  ;  set  of  china,  to  break ;  books  ;  packets  of  papers,  marked  receipts  > 
eills  ;  pens  ;  ink  ;  writing  paper— a  quire  and  two  loose  sheets  ;  plum  cake,  cut  ; 
clothes-brush  ;  long-handled  feather  duster;  pint  bottle  for  boy;  coffee-pot,  cuj.’ 
and  saucer ;  jug  of  milk  ;  dry  toast,  on  a  tray  ;  two  letters  for  Tom  ;  £50  note  : 
spectacles  for  Ledger  ;  two  lighted  candles  for  Rooney  ;  scaling  wax  ;  severa  * 
bandboxes;  carpct-bag;  three  wine  glasses  ;  smelling  bottle  for  Julia. 


THE  OMNIBUS. 


3 


17 

f 


COSTUMES . 

Rooney.— A  gray  coatee,  red  waistcoat,  white  or  gray  pantaloons,  very  short, 
striped  stockings,  shoes  and  buckles,  close  cut  wig. 

Ledger. — Brown  coat,  satin  embroidered  waistcoat,  black  breeches,  light  stock¬ 
ings,  shoes  and  buckles. 

Dobbs.— Drab  old  man’s  coat,  ilap  waistcoat,  top  boots,  hat  and  cane. 

Tom.— Scarlet  round-about  jacket,  buttoned  close,  boy’s  frilled  shirt  over  his 
shoulders,  nankeen  trousers,  rather  short,  buttoned  over  his  jacket. 

Farrier's  Boy. — Dirty  gray  jacket,  waistcoat,  breeches,  shoes  and  stockings, 
leather  apron. 

Julia. — White  frock,  red  sash. 

Mrs.  Dobbs.— Respectable  old  lady’s  dress,  bonnet,  and  shawl. 

Two  Miss  Dampers. — Genteel  ladies’  street  dresse3,  bonnets  and  shawls. 


SYNOPSIS. 

Ledger  enters  at  the  garden  gate,  followed  by  hi.-?  daughter  Julia.  The  old 
gentleman  angrily  denounces  Pat  Rooney  as  a  stupid  blockhead,  and  Julia  begs 
that  lie  may  have  another  week's  trial.  Julia  still  pleads,  and  her  father  says  that 
Rooney  is  not  only  stupid,  but  devilish  provoking.  Just  as  Ledger  goes  off,  he 
relents,  and  tells  J.  that  he  will  try  R.  once  more.  Pat  Rooney,  who  has  been 
listening,  gives  Miss  Julia  the  thanks  of  “  a  poor,  hapless  orphan,”  and  praises 
Julia  for  the  “  nate  way  ”  in  which  she  coaxed  the  old  chap.  The  young  lady 
goes  olf,  and  Pat  Rooney  congratulates  himself  on  the  fact  that  ho  has  been 
!“  hired  over  again.”  A  Farrier's  Boy  coming  in,  gives  Rooney  a  bottle  of  medi¬ 
cine  for  the  sick  gray  mare,  and  Pat  carefully  puts  it  out  of  his  “  stupid  ”  master's 
way  into  the  bullet.  Ledger  comes  in,  and,  rather  pitying  the  simple  fellow, 
tells  him  that  he  would  like  to  come  to  an  understanding  with  him.  But  Pat  tells 
him  that  he  is  not  the  lad  to  bear  malice,  and  that  he  (Ledger)  need  not  say  an¬ 
other  word  about  their  little  unpleasantness ;  he  concludes  by  telling  his  master 
that  he  ought  to  leave  off  “  bullyragging  his  servants.”  This  sets  the  peppery  old 
man  off  again.  Pat  tells  him  that  he  can  now  live  very  pleasantly— being  such  a 
convenient  distance  from  town,  that  the  coaches  and  omnibus  can  bring  out  plenty 
of  his  friends  and  relations.  Ledger  is  furious  at  this,  for  had  he  not  moved  pur¬ 
posely  into  the  country  to  get  rid  of  these  very  relations.  The  bell  being  heard  to 
ring,  Ledger  asks  Rooney  the  reason  ;  and  he  innocently  replies  that  it  is  because 
some  one  ‘;is  pullin’  at  it.”  Ledger  expressing  a  desire  to  write,  Pat  places  the 
'nk,  pens  and  paper  before  his  master.  Rooney,  saying  that  Miss  Julia  “  wants 
her  tay— poor  thing,”  rushes  off.  Ledger  finds  that  Pat  has  piled  all  his  papers 
Ion  top  of  a  high  buffet,  and  he  has  to  mount  a  chair  to  reach  them.  As  he  is 
tenderly  pulling  out  some  of  the  boxes,  down  comes  a  tray,  loaded  with  precious 
jehina,  on  his  head.  Pat  comes  in,  and  in  answer  to  a  question  from  L.,  says  he 
,put  that  illigant  chany  set  on  top  of  buffet— out  of  the  way.  In  the  midst  of  the 
fuss,  Tom  Dobbs,  L.’s  nephew,  arrives.  Ledger  is  vexed,  but  tells  Tom  that  he 
shall  breakfast  with  Julia.  Tom  tells  his  uncle  that  he  will  make  himself  at 
home,  especially  as  his  mother  always  said,  that  he  (Tom)  would  get  all  Uncle 
Ledger's  money  when  he  “  hopped  the  twig.”  The  hopeful  nephew  proceeds  to 
say  that  he  intends  remaining  to  dinner,  and  that  his  pa  and  ma  will  soon  arrive. 
Some  letters  come  for  Ledger,  which  he  hurriedly  opens.  One  letter  contains  a 
fffty  pound  note.  Tom  gets  a  glimpse  of  Cousin  Julia  through  an  open  door,  and 
runs  in  to  see  her,  and  Rooney  follows  him.  Ledger,  who  had  laid  the  fifty 
jponnd  note  on  a  loose  sheet  of  letter  paper,  opens  another  letter  ;  it  is  badly  writ¬ 
ten,  and  he  goes  for  his  spectacles.  Meanwhile,  Rooney  enters,  and,  blaming  his 
master's  recklessness  for  leaving  his  money  laying  round  so  carelessly,  he  slips  it 


4 


THE  OMNIBUS. 


into  the  loose  sheet  of  paper  between  the  leaves,  and  quickly  goes  off.  Ledger 
enters,  spectacles  on  nose.  He  reads  the  letter  ;  it  was  a  request  for  a  loan.  He 
answers  it  by  writing  on  the  paper  before  him.  “Very  sorry;  can’t  oblige” 
Folds  the  sheet,  puts  it  in  envelope,  directs  it,  and  sends  it  off  by  Rooney  to  catch 
the  French  mail.  Rooney  returns  after  fulfilling  his  errand  ;  his  arms  piled  with 
bandboxes.  Dobbs  senior  has  arrived.  Tom  and  Julia  come  on,  and  Ledger, 
with  a  very  ill  grace,  gives  the  guests  a  kind  of  welcome.  After  some  strong  hints 
from  Dobbs,  Julia  brings  glasses  and  a  cake.  Ledger  tells  Julia  to  bring  him 
that  bottle  from  the  buffet.  She  does  so.  It  is  the  only  bottle  there — the  medi¬ 
cine  placed  there  by  Pat.  As  Ledger  fills  Tom’s  glass,  he  remarks  that  it  is  real 
Curayoa.  Dobbs  thinks  it  looks  very  dark,  and  Tom  says  that  it  has  a  peculiar 
smell.  They  toss  it  off,  however.  Sudden  qualms  succeed,  and  they  both  become 
very  ill.  Rooney  comes  in,  followed  by  ladies.  It  is  Mrs.  Dobbs  and  several 
female  friends,  and  she  tells  her  astounded  brother  that  they  can’t  stay  more  than 
a  fortnight.  Rooney  don’t  like  them  ;  he  says  they  look  as  sour  as  if  they  “  lived 
upon  lemons  ”  Ledger  offers  Cimn^oa  to  the  ladies  ;  they  declining,  he  pours  out 
a  glass  for  himself,  and  as  he  drinks  it,  Rooney  helps  himself  out  of  the  bottle. 
Ledger  and  Rooney  both  start  at  the  taste,  and  when  the  latter  learns  that  it  is 
from  the  bottle  out  of  the  buffet,  he  exclaims  that  they  are  all  poisoned,  as  that 
contained  the  horse  medicine  !  Amid  the  alarm  produced  by  this  announcement, 
Pat  owns  that  he  had  taken  the  bottle  of  Curayoa  down  to  the  cellar.  A  gleam  of 
joy  touches  Ledger  when  Julia  brings  back  the  letter  containing  the  fifty  pound 
note.  Luckily,  it  had  not  been  stamped  !  Other  arrivals  take  place,  and  the  per¬ 
plexities  of  Ledger  arc  more  and  more  increased  by  the  constant  blundering  of 
Pat  Rooney  ;  until  the  piece  is  brought  to  an  end  by  the  old  gentleman  taking 
Julia  on  his  arm,  and  decamping  from  the  residence,  which  was  at  such  a  '■'‘con¬ 
venient  distance  ”  from  town,  and  so  easily  reached  by  The  Omnibus. 


STAGE  DIRECTIONS. 

R.  means  Right  of  Stage,  facing  the  Audience  ;  L.  Left;  C.  Centre  ;  R.  C.  Right 
of  Centre ;  L.  C.  Left  of  Centre.  D.  F.  Door  in  the  Flat,  or  Scene  running  across 
the  back  of  the  Stage;  C.  D.  F.  Centre  Door  in  the  Flat ;  R.  D.  F.  Right  Door  in 
the  Flat;  L.  D.  F.  Left  Door  in  the  Flat ;  It.  D.  Right  Door  ;  L.  D.  Left  Door  ;  1  E. 
First  Entrance;  2  E.  Second  Entrance;  U.  E.  Upper  Entrance  ;  1,  2  or  3  G.  First, 
Second  or  Third  Grooves. 

R.  R.  C.  C.  L.  C.  L. 

BSF"  Thereader  is  supposed  to  be  upon  the  stage  facing  the  audience. 


THE  OMNIBTJS. 


SCENE. — A  hall  in  a  country  house,  which  serves  as  the  apartment 

in  general  use. 

Enter  Ledger,  c.,  at  the  garden  gate,  folloiced  by  Julia. 

Ledg.  (l).  I  won’t ;  it’s  no  use  talking  to  me,  Julia.  Pat  Rooney  is  a 
stupid,  blundering  blockhead  !  Try  him  again,  indeed  ! 

Julia  (r.).  Only  for  a  week,  sir. 

Ledg.  Not  an  hour !  I’m  plagued  enough  as  it  is,  without  him. 
Didn’t  I  buy  this  cottage  ornee ,  as  you  call  it,  to  enjoy  myself  in  peace 
and  comfort  1  Brought  down  my  books  and  papers  from  the  counting- 
house,  and  set  up  a  gig  to  drive  about  and  see  the  country  I 

Julia.  Well,  sir,  has  it  not  answered  your  expectations  1 

Ledg.  No  !  Talk  of  retirement — I  might  as  well  live  in  ’Change 
alley ;  I  never  sit  down  to  settle  my  accounts  but  ring  goes  the  bell, 
and  it’s  “  How  do  ye  do  V’  “  How  are  you  'l — couldn’t  pass  the  door 
without  giving  you  a  call !  ” 

Julia.  Why,  we  live  at  such  a  convenient  distance,  sir - — 

Ledg.  Ha !  that’s  the  word — convenient  distance.  Devilish  conve¬ 
nient  !  One  would  think  I  kept  an  ordinary. 

Julia.  But  you  like  to  see  your  friends,  sir  I 

Ledg.  Yes;  at  other  people’s  houses. 

Julia.  You  breathe  the  pure  country  air,  sir. 

Ledg.  No  I  don’t !  Never  open  my  mouth  but  I  swallow  a  cloud  of 
dust ! 

Julia.  You  observe  the  progress  of  vegetation. 

Ledg.  Not  I;  I’ve  watched  the  holly-bush  in  front  of  the  house  every 
morning  for  a  week,  and  hang  me  if  it  has  grown  an  inch  ! 

Julia.  But  we  were  talking  of  Rooney,  sir. 

Ledg.  I  know  it;  do  you  want  him  to  ruin  another  horse,  and  stuff 
another  poll  parrot  with  mealy  potatoes  1 

Julia.  Those  were  accidents,  sir. 

Ledg.  But  he’s  so  devilish  saucy,  and  so  provoking ;  does  mischief 
without  end,  and  tells  me  Tm  the  cause  of  all  his  blunders !  Cries 
out,  when  he  has  done  some  d — d  mischief,  <!  There  you  go  again  !  ” 

Julia.  I  grant  he  is  a  little  too  familiar,  but  he  does  not  mean  to  be 
impertinent ;  lie’s  as  simple  and  unsophisticated  as  a  child,  and  honest 
as  lie’s  light-hearted. 

Ledg.  Well,  he  shall  stay,  then,  upon  trial,  and  I’ll  practice  patience. 
But,  Julia,  my  dear,  you  must  breakfast  by  yourself  this  morning; 
I’m  going  to  be  very  busy — balance  my  books,  write  letters,  and  so 
forth. 

Julia.  And  Roouey  1 

Ledg.  Oh,  he  may  appear — I  forgive  him  ;  he  may  show  his  cursed, 
impudent,  "rinnin".  Trir.h  ' 


G 


THE  OMNIBUS. 


Julia.  Thanks,  my  dear  father;  many,  many  thanks. 

[Exit  Ledger,  l.  s.  e. 

Rooney  stretches  his  head  from  first  wing,  l.,  watching  Ledger  off. 
Julia.  You  may  come  in,  Rooney. 

Roon.  Och !  Miss  Juli,  the  blessings  of  a  poor  hapless  orphan  be 
upon  you  !  May  you  live  this  hundred  years,  and  never  want  a  friend, 
or  a  husband  at  your  back,  either.  How  nate  you  coaxed  him ! 

Julia.  No  easy  matter,  I  can  tell  you,  Rooney,  to  coax  him. 

Roon.  Coax  a  cat  from  a  herrin’. 

Julia.  But  be  careful,  Rooney;  if  you  make  him  angry  again  you 
will  certainly  lose  your  place. 

Roon.  Never  fear,  Miss  Juli,  never  fear;  I’ll  kape  the  ould  boy  plazed, 
if  I  can. 

Julia.  I  should  be  sorry  to  lose  you,  Rooney;  so  pray  be  careful 
with  my  father  tor  my  sake.  [Exit,  r.  s.  e. 

Roon.  Hoo  !  I’m  hired  agin  !  If  the  gray  mare  wasn’t  ofF  her 
stomach  the  master  would  have  nothin’  to  complain  of  this  day,  I’ll  en¬ 
gage  ;  and  if  she  was  well,  I’d  have  nothin’  else  to  trouble  me.  ( the  bell 
at  the  gate  rings)  If  they’re  in  a  hurry  they’ll  ring  again.  (Jbeil  rings ) 
Och,  burn  the  bell !  that  sets  him  wild  intirely. 

Going,  meets  Farrier’s  Boy,,  at  c.  gate ,  who  enters  with  a  pint  bottle. 

Who’s  outside  1 
Boy.  Me. 

Roon.  (c.).  Yis,  but  who  was  that  pullin’  the  bell  1 
Boy  (l.).  Why,  me,  to  be  sure. 

Roon.  So,  it’s  yourself,  is  it  1  Is  it  for  the  like  of  you  to  be  pullin’ 
at  gate  bells  ?  I  think  you  might  have  got  over  the  wall,  nor  have 
dirtied  your  face. 

Boy.  I’ve  brought  the  physic  for  the  gray  mare,  (gives  it.) 

Roon.  The  what — the  physic  ?  Now,  are  you  sure  you’ve  made  no 
blunders,  and  that  it  wasn’t  intinded  for  the  gray  horse  I 

Boy.  No — no  ;  I  tell  you  it’s  all  right,  but  plaguy  strong.  Don’t  let 
your  master  see  it,  or  he’ll  think  the  gray  mare  is  at  death’s  door. 

Roon.  But  where  d’ye  get  it  ? 

Boy.  Where  did  I  get  it  I  Why,  master  makes  it,  and  I  takes  it. 
Roon.  You  take  it,  do  you  ?  Do  you  take  much  of  it  I 
Boy.  Ah  !  you  fool — ha,  ha,  ha !  Good-bye,  Paddy — good-bye, 
Paddy  !  Ha,  ha  !  Paddy  from  Cork  ? 

Roon.  Paddy!  Get  out,  you  dirty  raff  you!  (he  seizes  the  feather 
duster  from  the  table  to  strike  the  Boy,  who  runs  off  at  c.  gate ,  mocking 
him)  Only  to  think  o’  the  blackguard  cornin’  to  the  front  gate  !  By 
the  powers,  here  comes  the  masther  !  What’ll  I  do  with  the  bottle  of 
the  gray  mare’s  physic  ?  (pretends  to  busy  himself  about  the  buffet,  and 

slips  the  bottle  into  it)  He’ll  ask  me  no  questions,  and  I’ll  tell  him  no  lies. 

« 

Enter  Ledger,  l.  s.  e. 

Poor  ould  boy,  I’ll  not  be  over  hard  on  him;  he  seems  ashamed  of 
himself. 

Ledg.  So,  there  he  is,  and  afraid  to  look  me  in  the  face. 

Roon.  ( looking  round).  Poor  man  !  He  sames  mighty  sorry  for 
what  he  has  done,  and  ashamed  to  spake. 

Ledg.  I  must  encourage  him.  Come  here. 


THE  OMNIBUS. 


7 


Roon.  What,  you’re  there,  are  ye? 

Ledg.  Come  here,  poor  fellow. 

Roon.  I  don’t  know  that  I  will,  after  all  the  tricks  you’ve  been  about 
playin’  me. 

Ledg.  Well,  Rooney,  think  no  more  of  what’s  past. 

Roon.  I  don’t  bear  malice  for  trifles. 

Ledg.  But  only  let  us  endeavor  to  understand  each  other  in  future. 

Roon.  That’s  enough,  sir— that’s  enough  ;  it  isn’t  dacent  for  the  likes 
of  you  to  be  askin’  my  pardon  all  day. 

Ledg.  I  ask  your  pardon  ! 

Roon.  I  forgive  you,  sir,  with  all  my  heart. 

Ledg.  You  forgive  me  ! 

Roon.  Out  an  out!  right  on  end!  Och,  I’m  not  the  boy  to  bear 
malice ;  so  make  your  mind  aisy,  sir,  and  don’t  say  another  word 
about  it. 

Ledg.  Well,  I’ve  determined  not  to  be  ruffled,  if  I  can  help  it;  but 
if  this  is  what  Julia  calls  being  unsophisticated,  I  shall  hardly  put  up 
long  with  it.  Rooney,  endeavor  to  be  a  little  more  careful,  and  con¬ 
tinue  to  keep  my  room  in  this  nice  order,  and  I  shall  always  keep  my 
temper. 

Roon.  I’m  mighty  glad  to  hear  you  say  that,  sir,  for,  by  my  soul, 
there’s  great  need  of  it.  ( 'lie  takes  the  clothes  brush,  and  brushes 
Ledger’s  coat  ichile  speaking.) 

Ledg.  What’s  that,  sir  ? 

Roon.  Always  ballyragging  the  servants. 

Ledg.  I  ballyrag  my  servants,  fellow  I 

Roon.  Cursin’  and  swearin’. 

Ledg.  What,  I  curse  and  swear  I 

Roon.  Like  a  drunken  hussar. 

Ledg.  Why,  you  infernal - 

Roon.  There  ye  go  again — where  have  ye  been! 

Ledg.  What’s  that  to  you  1 

Roon.  Och !  it’s  a  sad  thing  to  see  an  ould  gintleman  fly  out  and  dis¬ 
grace  himself  before  his  servants.  You  shall  have  no  cause  to  complain 
of  me,  sir,  whatever  you  may  do  of  yourself.  ( brushes  the  curls  of 
Ledger’s  wig.) 

Ledg.  Eh,  what  now — what  the  devil ! 

Roon.  A  cobweb,  sir  ;  only  a  cobweb  sticking  to  your  best  wig,  sir ; 
that’s  a  sure  sign  of  luck  all  the  world  over. 

Ledg.  A  sign  of  luck  ! 

Roon.  Yes,  sir ;  I’ll  be  bail  you’ll  have  plenty  o’  money  in  your 
pocket  this  day,  and  all  your  friends  and  relations  about  ye. 

Ledg.  Friends  and  relations — the  devil  take  ’em !  I  hope  not. 

( crosses  to  r.) 

Roon.  It’s  such  a  convenient  distance,  sir — just  tin  miles  from  Lon¬ 
don  ;  so,  if  two  of  ’em  walk  down  at  once,  it  will  be  only  five  miles 
apiece. 

Ledg.  Confound  it,  I  never  thought  of  that. 

Roon.  Then  the  coaches,  sir — think  of  the  coaches  and  the  omni¬ 
buses,  sir;  think  of  the  omnibuses,  sir!  as  long  and  as  full  as  the  wards 
of  a  hospital !  Och,  we’ll  have  the  house  as  full  as  a  tick ! 

Ledg.  Rooney,  if  any  one  rings  at  that  infernal  bell  to-day.  don’t  let 
’em  in  ;  say  I’m  not  at  home. 

Roon.  Not  at  home  !  Are  you  going  out  I 

Ledg.  No  matter;  say  I’m  not  at  home. 

Roon.  Where  are  ye  going  1 

Ledg.  I’m  not  going  anywhere,  booby  ! 


8 


THE  OMNIBUS. 


Roon.  Och,  fie  !  would  you  tache  an  innocent  young  creature  to  be 
telling  lies  1  And  the  house  like  a  lantern,  too — they  can  see  every 
sowl  that’s  in  it. 

Ledg.  Augh  !  that’s  true  enough.  Well — well,  go  and  take  in  my 
daughter’s  breakfast. 

Roon.  She’s  had  her  breakfast. 

Ledg.  No,  she  has  not  had  her  breakfast. 

Roon.  But  she  has,  though. 

Ledg.  Why,  you  impudent - 

Roon.  I  took  it  myself. 

Ledg.  Why,  I  certainly  heard  her  bell  ring.  How  came  her  bell  to 
ring  ? 

Roon.  Pullin’  at  it. 

Ledg.  But  what  did  she  want,  pulling  at  it  ? 

Roon.  Why,  I  ’spose  she  wanted  me. 

Ledg.  Then,  why  the  devil  don’t  you  go  to  her  1 
Roon.  I’ve  been  to  her,  half  an  hour  ago  ;  she  wants  some  coffee  for 
her  tay. 

Ledg.  Then  why  don’t  you  take  her  coffee  for  her  tay,  and  be 
d — d  to  you  1 

Roon.  There  ye  go  again  !  How  can  I,  if  ye  keep  me  palaverin’  here  1 
Ledg.  Well,  only  go — that’s  all.  (sits  r.  of  table)  Oh,  dear!  Stop; 
bring  me  my  toast  and  milk  at  the  same  time — do  you  hear  1 

Roon.  I  do;  {leaning  over  table  l.)  ye  want  your  toast  and  milk  for 
your  sop  1 

Ledg.  What  is  it  to  you  1  Bring  my  jug  of  milk  and  dry  toast. 

Roon.  Dry  toast — won’t  you  sop  it  ? 

Ledg.  Why,  you  tormenting,  stupid — you - 

Roon.  Asy.,  now  !  And  no  butter  on  it  1 

Ledg.  Exactly  ;  toast  without  butter,  and  my  jug  of  new  milk. 

Roon.  Any  thing  else  1 

Ledg.  No — yes — here,  take  away  these  things. 

Roon.  Is  it  the  brush  ? 

Ledg.  Yes,  and  this — take  it  away  too. 

Roon.  Ye’ll  want  it  to  kill  flies  wid. 

Ledg.  I  don’t  want  to  kill  flies  to-day — so  take  it  away. 

Roon.  I’m  bothered  !  I  don’t  know  what  to  do. 

Ledg.  Rooney,  I  want  to  write. 

Roon.  Well,  I’ve  no  objection — write  away. 

Ledg.  But  where  are  my  pens,  ink,  and  paper  1 
Roon.  There  they  are,  all  on  that  table. 

Ledg.  But,  if  you  please,  I’ll  have  them  on  this  table. 

Boon.  Well,  bring  ’em  when  you  want  ’em. 

Ledg.  Will  you  bring  them  here,  rascal  1 
Roon.  You  always  write  on  this  table. 

Ledg.  I  know  ;  but  now  I’ll  write  on  this  table. 

Roon.  At  the  same  time  1 

Ledg.  Nonsense !  Eh,  who  has  been  arranging  my  books  and 
boxes  ? 

Roon.  Myself,  sir.  (places  ink  and  paper  before  Ledger  ;  on  the 
quire  of  paper  are  two  loose  sheets)  Myself  it  was.  Och,  Pat’s  the  boy 
for  nateness,  any  how. 

Ledg.  Well,  I’m  glad  to  see  this ;  you  have  turned  over  a  new  leaf,, 
in  leed. 

Roon.  Indeed  then  I  have,  sir  ;  I  turned  over  plenty  o’  leaves  before 
I’d  done  wid  ’em.  You  left  all  your  papers  bottom  over  top,  like  a  litter 
of  pigs,  and  work  enough  I  had  to  set  ’em  to  rights. 


9 


THE  OMNIBUS. 

Lepg.  Set  ’em  to  rights  !  My  papers  ? 

Roon.  Every  sowl  of  ’em — many  thanks  to  myself  for  the  trouble. 
But  Miss  Juli  wants  her  tay,  poor  thing  !  I’ll  be  widyou  again  wid  the 
speed  o’  light.  \Exit,  l. 

Ledg.  Now,  that  fellow  means  well ;  but  it’s  devilish  hard  that  I’m 
to  be  the  victim  of  his  over  caution,  (looking  up  at  boxes  which  are 
placed  on  top  of  the  buffet,  and  reading  labels)  Bills — receipts — letters  ; 
ha!  I  thought  so;  the  box  I’m  always  most  in  want  of,  stuck  on  the 
very  top  of  that  buffet.  This  comes  of  his  careful  setting  to  rights. 
I’d  need  have  a  ladder  to  reach  it  (mounts  a  chair)  without  spraining 
my  back,  or  getting  the  cramp  in  my  legs,  (he  reaches  on  tiptoe  to 
get  down  the  box — a  tray ,  covered  with  china,  which  stood  on  the  top 
of  it,  slides  over  his  head  and  is  strewed  upon  the  floor)  What,  the 
devil  !  does  it  rain  cups  and  saucers  ?  Rooney  !  ( gets  off  the  chair) 
If  this  isn’t  another  of  that  fellow’s  precautions,  I’ll  be  hanged  ! 
Rooney — Rooney,  I  say !  Twenty  pounds  gone  crash — oh,  dear ! 
Rooney ! 

Enter  Rooney,  l.,  with  a  small  coffee-pot,  cup  and  saucer,  jug  of  milk, 

dry  toast,  etc.,  on  a  tray. 

Roon.  Don’t  interrupt  me,  sir;  Miss  Juli  has  ordered  coffee  for  her 
tay,  and  it’ll  be  as  cowld  as  my  grandmother! 

Ledg.  Come  here,  you  torment — come  here  directly  ! 

Roon.  (setting  down  toast  and  jug  on  table).  Wait  till  I  put  down 
your  toast  and  milk,  sir.  What’ll  1  do  with  the  things'? 

Ledg.  Put  them  down. 

Roon.  Put  ’em  down,  where  I 

Ledg.  Any  where — on  the  floor — oh,  dear  ! 

Roon.  What’s  the  matter  1 

Ledg.  Come  here,  you  rascal  !  Tell  me,  where  did  you  put  that  in¬ 
valuable  set  of  china  that  I  purchased  last  week  as  a  present  for  my 
daughter  ? 

Roon.  What,  the  infallible  cups  and  saucers'?  Och,  don’t  be  uneasy, 
sir  ;  it  would  take  a  longer  pair  o’  shanks  than  you  ever  stood  upon  to 
raich  where  I  put  ’em. 

Ledg.  And  where  did  you  put  ’em  ? 

Roon.  Safe  and  snug,  sir,  on  the  top  o’  the  buffet. 

Ledg.  You  did  I  then  go  and  find  ’em!  Twenty  guineas  gone  in  the 
twinkling  of  an  eve  ! 

Roon.  (crosses  to  n.,  turning ,  and  seeing  the  pieces).  Och,  what, 
you’ve  been  at  it  again,  have  you  ?  (laughs)  I  couldn’t  have  made  a 
better  smash  of  it  myself.  What  the  devil  came  over  you  1  Here  you 
are  atiain — hoi  ho! 

Ledg.  Blockhead!  how  could  you  stick  a  set  of  china  up  there  1  (bell 
rings  at  back. ) 

Roon.  Och,  murther  !  Company  at  the  door,  and  we  taken  at  a  non¬ 
plush  !  Hurry,  sir;  hurry,  now,  and  help  me  to  pick  up  the  splinters. 
(bell  rings  again)  Coming,  you  tlivils  !  There  !  bad  luck  to  the  chany  ! 
Coming,  coming  ! 

Ledger  walks  about,  agitated.  Rooney  pushes  the  tray,  with  frag¬ 
ments,  under  the  table,  as  the  bell  rings  again,  and  runs  off,  l.  u.  e., 
as  a  voice  calls  “  Holloa!” — a  dog  barks. 


Ledg.  Oh,  dear — oh,  dear  !  This  is  all  simplicity,  I  suppose.  It’s 


10 


THE  OMNIBUS. 


no  use  to  grumble — I  must  endure  it  ;  but  if  I  haven’t  a  straight  waist¬ 
coat  on  before  night - 


Enter  Rooney,  l.  u.  e. 

Well  1 

Boon.  (r.).  It’s  your  nevy,  sir;  it’s  Masther  Tom,  sir. 

Ledg.  (l.).  My  nephew  !  What,  Tom  Dobbs  1 

Roon.  That  same,  sir ;  come  a  courtin’  to  Miss  Juli,  I  ’spose. 

Ledg.  Courting,  indeed — a  mere  child  !  What  the  devil  brought  him 
here  ? 

Roon.  His  own  carriage,  sir ;  as  ugly  a  little  pair  o’  legs  as  ever  ye 
clapped  your  good-looking  eyes  on.  {stepping  back ,  he  upsets  breakfast 
things )  There!  you  see  what  you've  made  me  do,  now  !  For  fear  you’ll 
be  making  more  mischief,  I’ll  take  ’em  into  Miss  Julia’s  room  at  once. 

[Exit,  with  tray,  r.  s.  e. 

Ledg.  Now,  I  must  be  civil  to  this  boy,  or  his  mother  will  be  offended. 
{dog  barks  without.) 

Enter  Tom,  l.  u.  e.,  alarmed,  looking  behind  him,  dozen  r. 

Tom  (n.).  What  a  devil  of  a  dog!  He’s  like  a  wild  beast.  Oh, 
uncle,  I’m  so  glad  to  see  you  ! 

Ledg.  (l.).  Are  you  1 

Tom.  Yes,  very  ;  but  I  don't  like  that  dog. 

Ledg.  Oh,  you  needn’t  be  afraid  of  him — he  wouldn’t  harm  a  child. 

Tom.  Wouldn’t  lie  !  But  he  tried,  though — caught  me  just  here  by 
my  best  nankeeners.  What  a  nice  house  you  have  got,  and  at  such  a 
convenient  distance,  too.  Do  you  know,  1  walked  it  quite  easy.  But 
I’m  so  hungry  !  I  haven’t  had  a  bit  o’  breakfast,  except  three  twopenny 
rolls  and  a  pint  o’  rum  and  milk  at  Hammersmith,  just  to  stay  my 
stomach. 

Ledg.  {aside).  Here's  a  precious  interruption!  Well,  Tom,  you 
shall  breakfast  with  your  cousin  Julia,  in  the  next  room.  I’m  going  to 
be  very  busy,  and  wish  to  be  alone. 

Tom.  Oh,  you  needn’t  stand  upon  ceremony  with  me,  uncle;  I’ll 
make  myself  quite  at  home. 

Lfdg.  Indeed! 

Tom.  Mamma  said  you’d  be  delighted  to  see  me. 

Ledg.  Did  she  ? 

Tom.  Yes  ;  and  that  you’d  be  affronted  if  I  didn’t  come  while  the 
strawberries  were  in. 

Ledg.  {aside).  This  will  never  do  ;  I  must  go  ten  miles  further  down 
the  road. 

Tom.  I  hope  Julia  won’t  be  affronted  too,  for  I  shall  soon  be  big 
enough  to  be  married,  and  then  we  can  live  so  comfortably  with  you, 
uncle — can’t  we  I  You  mean  to  leave  us  all  you  have  you  know,  when 
you  hop  the  twig! 

Ledg.  Hop  the’twig — leave  you  all  I  have!  And  who  told  you  so, 
Master  Tom  1 

Tom.  My  mamma. 

Ledg.  Pleasant,  upon  my  soul ! 

Tom.  But,  uncle,  I  don’t  want  you  to  die  just  yet ;  I  can’t  bear  a 
house  where  there  has  been  a  funeral — it  makes  things  so  uncommon 
uncomfortable. 

Ledg.  {aside).  Curse  me,  if  this  lout  isn’t  more  provoking  than  Pat 
Rooney  ! 

Enter  Rooney,  r.  s.  e. 


THE  OMNIBUS. 


11 


Roox.  ...,  suppressing  a  laugh).  Oli,  Mastlier  Tom.  I've  got  Miss 
Juli’s  compliments  for  yon,  and  her  sarvice  in  a  cup  of  tay. 

L  edg.  (l.).  Ay,  ay,  go  in,  Tom  ;  and  I’ll  have  a  letter  for  you  to  take 
back  directly.  I’ll  not  keep  you  here  a  moment  longer  than  I  can  help. 

Tom.  Don’t  hurry  on  my  account,  uncle  ;  you  may  dine  as  late  as 
ever  you  like 

Ledg.  Dine  1 

Tom.  Yes ;  but  you  must  shut  up  that  great  dog,  though. 

Ledg.  What,  Tiger  1 

Tom.  Because  if  lie  barks  in  the  night,  you  know,  I  shan’t  get  a  wink 
of  sleep. 

Ledg.  Sleep ! 

Roox.  Slape  is  it  1 

Tom.  Sleep  !  yes,  to  be  sure.  Do  people  that  live  in  the  country  lie 
awake  all  night  1  Oh,  my  ma  won’t  like  that. 

Roox.  His  mamma  !  Och,  the  poor  little  cratur  !  His  mamma  ! 

Ledg.  But,  Tom,  this  is  a  pleasure  we  didn’t  expect. 

Tom.  Oh,  you  needn’t  mind  me,  uncle  ;  any  snug  room  that’s  well 
aired,  with  a  pleasant  prospect,  will  do  for  me— so  that  I've  a  good  bed 
and  plenty  of  pillows.  First  come,  first  served,  you  know;  and  as  this 
is  Saturday,  you'll  have  your  house  crammed  full  to-morrow. 

Roox.  The  house  full  !  Didn’t  I  say  so  !  Och,  it’s  myself  that  loves 
a  power  of  company,  and  plinty  o’  good  atm’  and  drinkin' — lioo  !  ( sings 
and  capers.) 

Room,  {vexed).  Rooney  ! 

Room.  Ax  pardon,  sir — no  offence  ;  I’m  covered  all  over  wid  blushes. 

Ledg.  Rooney  !  take  my  nephew  into  the  next  room  ;  take  him  away 
t  directly,  or  I  shall  say  something  unpleasant — do  something  uncommon  ; 
I’m  getting  bilious. 

Roon.  Come  along,  my  dear,  and  I’ll  take  care  of  you. 

Tom.  But  stop  a  bit ;  I’ve  got  two  letters  for  uncle. 

Ledg.  Letters  1 

Tom.  Yes  ;  your  clerk  said  there  were  fifty  pounds  in  that. 

Room.  Fifty  pounds!  Och,  the  cobweb,  sir — didn’t  I  tell  you  the 
luck  of  it  ? 

Ledg.  Do  go  along,  and  let  me  have  five  minutes  to  myself. 

Roox.  Five  minutes — yes  sir.  (Ledger  sits  at  the  table)  Now,  my 
darlin’,  eome  wid  me,  and  I’ll  show  you  the  rabbits,  and  the  ould  gray 
mare,  and  the  poll  parrot,  and  all  the  rest  of  the  lions. 

Tom.  Lions  !  Oh,  my  !  does  uncle  keep  lions  I 

Roox.  That  he  does  ;  and  pigs,  ducks,  and  other  pet  lambs,  into  the 
bargain.  Don’t  you  see  Miss  Juli  waitin’  for  you  in  the  next  room  I 

Tom.  Lank,  so  she  is.  How  pretty  she  is — and  what  a  nice  plate  of 
toast  and  butter  she’s  got.  How  d’ye  do,  cousin  Julia  ?  I’m  corning. 

[Exit,  r.  s.  e.  . 

Roox.  Och,  the  broth  of  a  boy!  If  Miss  Juli  takes  up  with  such  a 
bit  of  a  husband  as  that,  by  my  sowl  she’ll  have  little  enough  to  boast 
of!  .  [Exit,  r.  s.  e. 

Ledg.  Now,  then,  let  me  see.  ( opens  letter)  Ha!  fifty  pounds  !  Just 
in  time — I  hadn’t  sixpence  in  the  house,  {lags  money  on  writing  paper) 
But  who  the  deuce  is  this  from  I  Postmark,  Bordeaux,  {reads)  ‘‘Sare — 
I  presume  ” — what  a  cursed  crow-quill  hand  !  I  shall  never  be  able  to 
read  it  without  my  spectacles.  Rooney !  But  no — I’ll  go  for  them 
myself;  that  fellow  would  be  sure  to  break  them.  [Exit,  l.  s.  e. 

Enter  Rooxey,  r.  s.  e. 

Roox.  Here  I  am,  sir !  Eh — there’s  more  of  his  tricks !  Sure  I 


u.  OF  ILL  LIB. 


12 


TILE  OMNIBUS. 


heard  him  call.  Oho,  to  take  away,  I  suppose,  {approaching  table  and 
seeing  note)  Thunder  and  turf!  see  to  this,  now  ; ,  fifty  pounds  at  the 
mercy  of  a  high  wind  and  the  garden  door  wide  open!  As  if  he 
couldn’t  slip  it  into  a  shate  of  paper,  (puts  it  between  the  first  loose 
sheet)  One  would  think  he  left  his  money  about  on  purpose  to  get  me 
into  trouble,  (sits  l.  of  table.) 

Enter  Ledger,  icith  spectacles,  l  s.  e. 

Ledg.  A  fine  joke,  truly— lend  money  to  a  man  I  never  saw  three 
times  in  my  life !  “  Pray  enclose  a  remittance  by  return  post,  etc.,  etc., 

John  Jack  Fripon,”  Never  heard  of  such  cool  impudence  since  the 
hour  I  was  born,  (crosses  to  it-)  Rooney,  take  away  those  things,  and 

bring  me  a  candle. 

Roon.  (l.L  A  candle— lighted  1 

Ledg.  (r  ).  To  seal  a  letter. 

Roon.  Yes,  sir.  (aside)  By  ray  sowl,  he  keeps  my  tin  toes  on  the  tiot 
from  raornin*  till  night. 

Ledg.  Now,  do  make  haste,  will  you  1  (writes.) 

Roon.  I  shall,  sir;  and  I  hope,  sir,  you’ll  think  o  the  shoe  leather 
when  you  come  to  pay  my  wages.  [Exit  with  jug ,  etc.,  l. 

Ledg.  ( sits  l.  of  table).  Yes— yes,  Mounseer,  1  11  answei  you  in i  two 
lines  “Very  sorry,  but  can’t  oblige.’  ( folds  letter)  Theie  s  nothin,, 
in  the  world  I  hate  so  much  as  lending  money— except  giving  it 
(directs  it)  “John  Jack  Fripon— Marchand—  Bordeaux.  Theie,  i 

settled  that  business  to  my  mind,  at  all  events.  Rooney,  the  candle  . 

Roon.  (without).  Here  they  are,  both  safe. 

Enter  Rooney,  with  two  lighted  candles,  l. 


Ledg.  Why  the  devil  did  you  bring  two  1 
Roon.  For  fear  one  of  ’em  would  go  out,  sir. 


Besides,  didn’t  you 

ItUUUi  XVI  1V.WI  vuv  V.  -  O  '  -  { 

cret  two  letters,  and  won’t  you  be  sailing  both  the  answers 
65  Ledg.  Aimh  !  you're  enough  to  vex  a  saint!  ( seals  letter ,) 

Roon.  There’s  no  contintin’  him,  any  how.  I’ve  a  great  mind  to  dis- 

^Ledg”  There,  that  must  go  directly,  or  it  will  be  too  late  for  the 
foreign  post.  (Rooney  takes  letter )  I  have  a  dozen  more  letters  to  write, 
so  don’t  let  me  be  interrupted  on  any  account  whatever  .(an  omnibus  is 
seen  to  drive  up — gate  bell  rings— dog  barks)  Who  the  devil  is  that  • 

'  Roon.  It’s  an  omnibus  as  long  as  Sackville  street,  just  stopped  at  the 

fl  Ledg^ Don’t  let  ’em  in— don’t  let  me  see  a  soul!  Say  I  can't  see 
any  one— I  won’t  see  any  one!  (Rooney  runs  to  the  door,  c.  gate)  l 
miaht  as  well  keep  the  Star  and  Garter  on  Richmond  Hill,  as  be  pes¬ 
tered  in  this  way.  A  man’s  never  safe!  I  wish  peopie  would  be  a 
little  more  considerate.  (Rooney  returns  with  bandboxes ,  etc.)  0  , 

*°Too™'' IpuUinr^m  Snf  Not  quite,  sir.  For  Mr.  Dobbs,  sir. 

Ledg!  For  Tom  1  J  Confound  him,  does  he  mean  to  stay  here  a  month  1 
Oh  I’ll  not  suffer  this — I’ll  send  for  the  booby  and  tell  him  so.  (Rooney 

etc.)  Rooney,  desire  Mr.  Dobbs  to  come 

here  directly'.  ...  , 

Roon.  He’s  coinin’,  directly  he  has  paid  the  coachman. 

Ledg.  Paid  the  coachman  !  What,  Tom  1 
Roon.  No,  sir  ;  Master  Tom’s  papa,  sir. 


THE  OMNIBUS. 


13 


Ledg.  Augh  !  the  devil !  {walks  about  vexed.) 

Enter  Dobbs,  c.  gate. 


1  Dobbs  (c-).  Now,  you  clumsy  dog,  don't  be  staring  at  me,  but  take 
those  bundles  up  into  my  room. 


I  fancy, 
are  ordered. 


Very 


Roon.  Your  room  is  itl  That’ll  be  the  garret, 

Dobbs  Get  out,  you  rascal,  and  do  as  you 
familiar  ’non  ray  life  !  What,  you  never  saw  me  beloie  . 

1  Roon!  Can’t  sly  1  did,  sir  ;  and  the  divil  may  welcome  the  stranger. 

Dobbs.  Why,  vou  impertinent  scoundrel  ! 

Roon.  Manners— manners  !  It’s  not  polish  for  one  gintleman  to  take 
liberties  vvid  another.  Scoundrel!  As  many  yards  o  bad  luck  as  \\i 
make  you  a  coat,  waistcoat  and  breeches,  Mr.  Dobbs,  and  long  life  for 
vou  to  wear  ’em.  Iloo  !  scoundrel !  [Amt,  R. 

'  Robbs.  ’Pon  my  life!  most  extraordinary  fellow  that. 

Ledg.  (advancing).  I’m  glad  he’s  come  alone,  however. 

Dobbs.  Ah.  Ledger,  my  old  boy,  how  are  you— how  d  ye  do  .  G  ad 
to  see  you,  with  all  my  heart!  You’ve  a  capital  house  lierc;  but  a 
cursed  saucy  servant,  I  must  say.  Well,  and  how  s  Julia  Nice  house 
indeed — delightful !  Why,  I  never  saw  you  looking  so  well,  or  in  Better 

spirits! 

Ledg.  D’ve  think  so  ?  I  never  was  more  out  of  humor. 

Dobbs.  What,  liyppish,  eh  1  Ha,  always  the  way  with  people  that 
can’t  bear  to  be  alone  ;  but  we’ll  cheer  you  up,  my  old  boy.  i  saw  a 
beautiful  loin  of  veal  go  into  the  house  just  now,  and  know  you  have 


some  capital  Port. 

t  Ledg.  Yes— in  London  ;  I  never  drink  wine  m  the  country. 

Dobbs.  Don’t  you  1  Then  we’ll  drink  it  for  you. 

Ledg.  Wei  -  ~ 

Dobbs.  Yes;  Tom’s  here,  isn’t  he  ? 

Ledg.  Oh,  yes;  and  took  care  to  come  early  enough.  < 

Dobbs.  That,  was  right !  Tell  you  how  it  was  ;  your  sister— my  wife 
—Tom’s  mother— took  a  fancy  in  her  head,  last  night,  that  a  walk  down 
the  road  would  be  of  service  to  Tom,  and  that  I  should  come  attei  Tom 
from  the  Goose  and  Gridiron.  Knew  you’d  be  glad  to  see  us— so  here 
we  are.  By  the  by,  it’s  a  most  convenient  distance,  ’pon  my  me  .  Just 
enough  to  get  an  appetite  without  fatigue. 

Ledg.  (aside).  I’ll  set  lire  to  the  house— I  will— I  must. 

Dobbs.  And  then  the  omnibus — ’pon  my  life,  quite  a  luxury  .  bets 
one  down  at  the  very  door.  But  do  give  me  a  biscuit  and  a  glass  o 
wine,  will  you  ?  I’m  almost  famished;  a  ride  after  an  early  breakfast 
sets  one’s  teeth  on  edge. 


Enter  Tom  Dobbs  and  Julia,  r.  s.  e. 

Ha!  Tom,  jTou  dog — been  making  love  to  your  sweetheait,  eh  1  How 

d’ye  do,  Julia?  {shaking  hands.) 

Tom.  What,  are  you  come  without  mamma,  papa  1 
Ledg.  {aside).  There’s  no  help  for  it?  (to  Julia)  Julia,  bring  two 
or  three  glasses,  will  you  1 — the  smallest  you  can  find.  I  must  put  the 
best  face  I  can  upon  it;  but  if  ever  I  live  at  a  convenient  distance 

again,  mav  the  devil  be  my  first  visitor. 

Dobbs. ‘Why,  Julia,  you’re  grown  out  of  all  knowledge— make  two 
of  Tom,  ’pon  my  life  !  (Julia  brings  glasses  from  buffet,  and  as  Ledger 
brings  cake  f  rom  cheffionier,  Tom  takes  a  large  piece  as  he  passes.) 
Ledg.  (aside).  That  boy’s  quite  a  hog! 


14 


THU  OHHI3JS. 


Dobbs.  Tom,  don’t  bo  greedy;  we  shall  have  luncheon  presently, 
and  you’ll  spoil  your  appetite.  Ha!  this  is  just  the  thing  nothing  l 
like  better  than  plum  cake. 

Ledg.  Well,  Dobbs,  I’m  \ery  glad  to  see— that  is,  I  m  quite  sony  3  ou 
didn’t  bring  your  wife.  (Tom  and  Dobbs  eat  greedily.) 

Dobbs.  Thank  yon— knew  you’d  be  delighted  to  see  us ! 

Tom,  Oh,  uncle,  you  musn’t  talk  to  him  when  he’s  eating  ;  the  doctor 
says,  we’ve  both  got  such  small  swallows  that  it’s  quite  dangeious  to 
interrupt  us  at  our  meals. 

Ledg.  Indeed!  .  . 

Tom.  Yes  ;  I’ll  tell  you  how  it  was  ;  mamma  s  never  ready  m  time, 

you  know,  so  we  left  them  to  come  by  themselves. 

Ledg  Them  !  What  do  you  mean  by  themselves  1 
Tom.  Oh,  lank!  I  forgot  to  tell  you  that  ma  sent  her  love  to  you 
uncle,  and  as  the  two  Miss  Dampers  were  staying  at  our  house,  sue  u 
do  you  the  pleasure  of  inviting  them  to  come  with  us. 

Ledg.  How  very  kind  !  . 

Tom.  Wasn’t  it !  This  cake  is  uncommonly  dry — how  it  sticks  in  my 

throat ! 

Ledg.  (aside).  I  wish  ’twould  choke  you!  ... 

Dobbs.  Ledger,  my  boy,  here’s  plenty  of  glasses,  but  nothin,,  t 

drink.  ,  .  , 

Tom.  We  must  have  something  to  wash  it  down,  uncle. 

Ledg.  Well,  curse  me  if  this  isn’t— but  no  matter.  Julia,  my  dear, 
do  bring  me  that  bottle  of  Curagoa  from  the  buffet,  will  you  1  It  s  the 

only  bottle  in  there.  „ 

Dobbs.  Curagoa!  the  best  thing  going— real  Amsterdam.  Curagoa 

is  the  best  thing  in  the  world  for  my  complaint!  (Julia  goes  to  the y 

buffet  and  brings  bottle  of  physic.)  .  ,  .  n 

Ledg.  Ah,  vou’il  not  get  such  as  this  every  day— cost,  me  eighteen 

shillings  a  bottle,  (aside)  I  shall  grudge  ’em  every  drop  !  (Tom  takes 

upon  my  life-uncommonly  xlark.  Mon¬ 
strous  powerful,  I  dare  say.  Mind  what  you’re  about,  Tom-half  a 

glass  is  quite  enough  for  you. 

Tom.  1  don’t  quite  like  the  smell  of  it,  uncle. 

Ledg  Not  like  the  smell !  Why,  it’s  a  perfect  nosegay  . 

Dobbs  (. having  bolted  his  glass).  Infernally  strong,  to  be  sure— augli  . 
Ledg.  Yes,  it  soon  warms  the  stomach. 

Tom  (having  drunk).  Warms!  oh,  dear— 0I1,  lauk .  Why,  it  bums 
^‘Dobbs'.  Very  odd  flavor— got  a  sort  of  a  twang  that— eh  !  (smacks) 

Curagoa  before;  but  if  it  wasn’t  for  the 

name,  I  should  think,  papa 
Dobbs.  Tom  ! 

Tom.  What  a  queer  taste  it  leaves  in  the  mouth  ! 

Dobbs.  Horrid— shocking,  upon  my  life— pah  ! 

Ledg.  Oh,  this  is  throwing  pearls  to  swine  !  You  won  t  try  another 

-  g1  Dobbs."  No  thank  you  j  a  liUlo  of  that  goes  a  great  way  Bless  my 
soul— hope  I’m  not  going  to  have  an  attack  of  vertigo.  Oh,  deal,  my 

lie^^eegoVe(loes>dmy  stomach— 0I1,  dear,  papa  !  Oh  lauk !  I  bel,ev® 
I’m  going  to  faint — I  am,  too— oh  !  (he  sinks  into  a  chair-- Julia  holds 
her  smelling  bottle  to  him— gate  bell  rings— another  omnibus  appeals 
dog  barks.) 


TUB  OMNIBUS. 


v> 


Enter  Rooney,  r. 

Rook.  Another  omnibus,  sir  ;  and  the  company  rolling  out  as  if  they 
had  upset  a  bushel  o’  potatoes.  [Exit,  R. 

Dobbs.  Hope  it’s  my  wife — ’pon  my  life — haven’t  made  my  will  yet, 
and  I — I  really  feel  very  uncomfortable. 

Tom.  So  do  I  ;  I’ve  got  quite  an  all-overness. 

Ledg.  ( looking  at  them).  What  the  plague,  are  they  both  going  to  be 
laid  up  ?  [Exit  Dobbs  ancl  Tom,  r. 

Enter  Rooney,  followed  by  ladies ,  c.  gate ,  ladies  down  r. 

Roox.  Mrs.  Dobbs,  sir — and  Miss  Damper,  sir — and  Miss  Jemima 
Damper,  sir. 

Mrs.  D.  Well,  brother,  here  we  are— and  in  such  spirits  !  I'm  afraid 
we  shall  turn  the  house  out  o’  window.  Julia,  my  dear,  I’m  delighted 
to  see  you. 

Ledg.  Rooney,  take  these  ladies’  cloaks.  ( bowing ,  amazed ,  As  Mrs. 
Dobbs  proceeds ,  Rooney  takes  the  cloaks  from  the  Misses  Damper, 
staring  at  each  as  they  tarn.) 

Mrs.  D.  I  know  how  you  doat  on  a  pleasure  party,  brother  ;  so  I 
prevailed  on  these  dear  girls  to  oblige  us  with  their  company  for  a  few 
days. 

Ledg.  A  few  days  ! 

Mrs.  D.  They  can’t  stay  longer  than  a  week  or  a  fortnight,  I  assure 
you.  Miss  Damper,  my  brother,  Mr.  Ledger — brother,  Miss  Jemima 
Damper — two  charming  young  women,  indeed — so  lively  and  so  aizree- 
r  able!  Julia,  my  dear!  {the  ceremony  of  introduction  goes  on  between 
the  ladies.) 

Ledg.  Lively  and  agreeable  ! 

Roon.  Young  and  charming,  are  they  ?  By  my  soul,  they  look  as 
dry  as  a  couple  o’  cane- bottomed  chairs,  and  as  sour  as  if  they  lived 
upon  lemons.  (Dobbs  returns  and  sits  l.  of  table,  groaning.  Tom 
fottoics  and  leans  against  stage  pillar,  r.  Mrs.  Dobbs  runs  to  her  son, 
sits  r.  of  table,  and  takes  Tom  on  her  knee.) 

Enter  Dobbs,  r. 

Mrs.  D.  Dobbs  !  Dear  me,  what’s  the  matter  with  Dobbs  ?  ( running 
to  him)  My  dear  Dobbs  ! 

Dobbs.  Oh,  Betsey,  my  love— that  cursed  Curagoa  ! 

Mrs.  D.  Curaecoa,  at  this  time  in  the  morning!  Curagoa! 

Tom.  Oh,  mamma,  I’m  very  ill! 

Mrs.  D.  And  Tom,  too  !  Poor,  dear  child  ! — I’m  surprised,  brother, 
at  your  want  of  caution  :  give  Curagoa  to  an  infant  like  this  ! 

Ledg.  Pooh  !  he  only  swallowed  a  thimblefull.  Julia,  my  dear,  take 
these  ladies  into  the  drawing-room  ;  and  Rooney,  give  me  a  glass  of 
that  liquor.  One  would  think  they  had  swallowed  hellebore,  instead 
of  the  linest  cordial  that  ever  was  drank. 

Roon.  {pouring  out).  And  the  ladies,  sir — maybe  the  ladies  would 
like  a  small  taste  of  the  cratur?  (he  offers  a  glass  to  Miss  Damper,  icho 
turns  away  disgusted,  and  exits)  Eh  !  Miss  Jemima  perhaps  1  (Jemima 
turns  up  her  hands  and  follows  her  sister.  Exit  Julia,  r.)  Oh,  are 
you  thereabouts  1  (mimics)  I  wouldn’t  trust  it  alone  wid  either  of  ’em, 
for  all  that,  (he  gives  the  glass  to  Ledger,  who  sips  at  the  same  moment 
that  Rooney  puts  the  bottle  to  his  mouth)  So,  here’s  good  luck  to  my¬ 
self — Och  !  boo — oh  !  I’m  kilt ! 


1G 


THE  0  MINIBUS. 


Ledg.  Pah!  gall!  ( splutters )  You  infernal  rascal,  what  have  you  pul 
in  that  boUle  ? 

IIoon.  This  bottle  7 

Ledg.  That  bottle  of  Curagoa  that  I  left  in  the  buffet  ? 

Roon.  In  the  buffet,  is  it  1  (looks  round  and  misses  bottle)  Murther 
we’re  all  poisoned !  (Tom  and  Dobbs,  who  rouse  themselves  ad  the 
moment  Rooney  and  Ledger  take  the  stuff \  advanced) 

All.  Poisoned  !  poisoned ! 

Roon.  Every  sowl  of  us  outright  iutirely  !  Och,  ’twas  enough  tc 
poison  a  lire-eater  and  all  his  relations  ! 

Ledg.  Here’s  a  pretty  business!  But  I’ll  not  believe  it.  Poisoned, 
indeed  !  With  what  7 

Roon.  Oh,  masther,  you’ve  a  dale  to  answer  for — think  o’  murtliering 
all  the  company  with  the  ould  gray  mare’s  physic ! 

Dobbs.  What,  mare’s  physic  7  A  doctor  !  a  doctor !  Let  me  make 
my  will!  Oh,  Betsey,  my  dear! 

Tom.  A  stomach  pump  !  oh  ! 

[. Exeunt  Dobbs,  groaning,  and  Tom,  crying ,  r. 

Ledg.  You  villain  !  where  did  you  put  the  real  Curagoa  that  I  left 
in  the  buffet  7 

R,oon.  Sure  I  took  it  down  to  the  cellar,  for  fear  the  maid  servants 
should  get  at  it  and  misbehave  themselves. 

Ledg.  Well,  I’ll  take  special  good  care  you  shan’t  misbehave  again — 
I’ll  pay  your  month’s  warning,  and  get  rid  of  you  at  once.  Here,  go 
and  change  this  fifty  pound  note — eh!  why,  where  is  it  7  I  left  it  on 
the  table. 

Roon.  And  if  you  look  for  it  in  the  top  sliate  o’  paper  you’ll  find  it. 

Ledg.  The  top  sheet — why,  I  wrote  my  letter  upon  that ! 

Roon.  You  did!  Divil  fire  me,  then,  if  the  note  isn’t  gone  to 
Bordeaux. 

Ledg.  To  the  very  man  I  said  I  couldn’t  lead  sixpence !  Oh,  you 
eternal  meddler  ! 

Enter  Julia,  r. 

Well,  Julia,  misfortunes  never  come  alone — I  guess  how  it  is — Tom  and 
his  father  both  dead,  I  suppose  7 

Julia.  Dead  !  Not  they,  indeed.  Dreadfully  frightened,  to  be  sure  ; 
they  didn’t  drink  enough  to  do  them  any  harm — but  they  are  merry 
enough  now. 

Ledg.  Come,  that’s  one  relief.  But  I  must  really  get  rid  of  Rooney 
— he  has  worn  me  to  a  thread. 

Roon.  (aside).  And  a  pretty  tough  thread  it  must  be,  if  that’s  all  that’s 
left  of  you. 

Ledg.  Made  me  send  fifty  pounds  to  Bordeaux  that  I  wanted  to  keep 
in  my  pocket. 

Julia.  What,  in  this  letter,  sir  7  (holding  it  up.) 

Ledg.  Eh,  how  !  (takes  letter ,  opens  it,  and  rejoices.) 

Roon.  Oh,  the  powers  !  has  she  been  all  the  way  to  Bordeaux  after 
it  7  That  flogs  the  stamers  ! 

Julia.  Foreign  letters  must  be  post-paid — so  this  was  returned,  (bell 
rings — omnibus  appears.) 

Roon.  ’Pon  my  sowl,  there’s  another  omnibus. 

Ledg.  Another ! 

Enter  Tom,  running,  r. 

Tom.  Oh,  Julia,  you’ll  be  so  pleased  !  Oh,  uncle,  such  a  lot  o’  little 
boys  and  girls !  They’d  have  passed  the  door,  only  mamma  hat 


\  - 


THE  OMNIBUS. 


17 


beckoned  to  ’em,  and  the  omnibus  will  return  to  cet  them  ail  down 
directly. 

Ledg.  Beckoned!  To  whom  1 

Tom.  Laulcs  !  don’t  you  know  1  It’s  Mr.  and  Mrs.  Wadd,  and  all  the 
family. 

Ledg.  All  the  family  1  Zounds  !  they  have  thirteen  children  ! 

Tom.  Yes,  but  they  never  come  out  more  than  ten.  What  a  jolly 
party  we  shall  be  !  (runs  to  the  door  at  back.) 

Ledg.  Julia,  we’ll  leave  the  house — we’ll  fly  the  country  !  Rooney, 
when  that  omnibus  returns,  take  two  places  to  London — I’m  off !  Julia, 
my  love,  put  on  your  bonnet.  Rooney,  get  my  hat  and  stick,  and  put 
the  gray  mare  to  the  one-horse  chaise — we’ll  all  bo  off ! 

Roon.  The  poor  gray  mare’s  just  dead,  sir. 

Ledg.  Dead ! 

Roon.  Yes— how  could  you  expict  otherwise — giving  her  physic  to 
other  people  !  [Exit,  r. 

By  this  time  the  Dobbses,  Dampers,  etc.,  are  all  assembled  from  r. 

Ledg.  I’m  sorry  to  leave  so  pleasant  a  party,  but  the  country  is  too 
quiet  for  me. 

Mrs.  D.  Why,  brother,  you  don’t  mean  to  leave  ns. 

Dobbs.  Very  odd,  ’pon  my  life !  (Rooney  returns,  and  gives  Ledger 
Ids  hat  and  stick,  r.) 

Tom.  Lauk,  uncle,  where  are  you  going  to  1 

Led g.  ( slapping  on  his  hat,  and  seizing  Julia’s  arm,  which  he 
draws  within  his  oicn).  To  a  convenient  distance!  one  of  the  most  re¬ 
mote  settlements  on  the  Swan  River! 


CURTAIN , 


r*  Please  notice  that  nearly  all  the  Comedies,  Tarces  and  Comediettas  in  tho  following 
List  of  “  De  Witt’s  Acting  Plays  ”  are  very  suitable  for  representation'  in  small  Amateur 
Theatres  and  on  Parlor  Stages,  as  they  need  but  little  extrinsic  aid  from  complex  scenery 
or  expensive  costumes.  They  have  attained  their  deserved  popularity  by  the:r  droll  situa¬ 
tions,  excellent  plots,  great  humor  and  brilliant  dialogues,  no  less  than  by  the  fact  that 
they  are  the  most  perfect  in  every  respect  cf  any  edition  of  plays  ever  published  either  in 
the  United 'States  or  Europe,  whether  as  regards  purity  of  text,  accuracy  and  fullness  of 
stage  directions  and  scenery,  or  elegance  of  typography  and  clearness  of  printing. 

***  In  ordering  please  copy  tho  figures  at  the  commencement  of  each  piece,  which 
indicate  the  number  of  the  piece  in  “  De  Witt’s  List  of  Acting  Plays.” 

Any  of  the  following  Plays  sent,  postage  free,  on  receipt  of  price— Fifteen  Cents 

each. 


JGQ*  The  figure  following  tho  name  of  the  Play  denotes  the  number  of  Acts.  The 
figures  in  tho  columns  indicate  tho  number  of  characters — H.  male;  E.  female. 


M. 


75.  Adrienne)  drama,  3  acts .  7 

231.  All  that  Glitters  is  not  Gold,  comic 

drama,  2  acts .  G 

308,  All  on  Account  of  a  Bracelet,  come¬ 
dietta,  1  act .  2 

114.  Anything  for  a  Change, comedv.l  act  3 
167.  Apple  Blossoms,  comedy,  3  acts. ..  7 
93.  Area  Belle,  farce,  1  act .  3 

40.  Atchi,  comedietta,  1  act .....  . 3 

89.  Aunt  Charlotte’s  Maid,  farce,  1  act.  3 

258.  Aunt  Dinah’s  Pledge,  temperance 

drama,  2  acts .  G 

237.  Bachelor’s  Box  (La  Petite  Hotel), 

comedietta,  1  act . 4 

166.  Bardell  vs.  Pickwick,  sketch.  1  act.  6 
310.  Barrack  Boom  (The),  comedictta,2a.  G 

41.  Beautiful  Forever,  farce,  1  act .  2 

141.  Bells  (The),  drama,  3  acts . 9 

223.  Betsey  Baker,  farce,  1  act . 2 

67.  Birthplace  of  Podger3,  farce,  1  act..  7 
36.  Black  Sheep,  drama,  3  acts _ ....  7 


279.  Black-Eyed  Susan,  drama.  2  acts. .  .14 
296.  Black  and  White,  drama,  3  acts. ...  6 

160.  Blow  for  Blow,  drama,  4  acts . 11 

179.  Breach  of  Promise,  drama,  2  acts..  5 
25.  Broken-Hearted  Club,  comedietta..  4 

70.  Bonnie  Fish  Wife,  farce,  1  act .  3 

261.  Bottle  (The),  drama,  2  acts . 11 

226.  Box  and  Cox,  Romance.^  act . 2 

24.  Cabman  No.  93,  farce,  1  iu;t .  2 

199.  Captain  of  the  Watch,  comedietta, 

1  act .  6 

1.  Caste,  comedy,  3  acts .  5 

175.  Cast  upon  the  World,  drama,  5  acts. 11 
55.  Catharine  Howard,  historical  play, 

3  acts . 12 

69.  Caught  by  the  Cuff,  farce,  1  act _  4 

80.  Charming  Pair,  farce,  1  act. _ _  4 

65.  Checkmate,  comedy,  2  acts .  6 

68.  Chevalier  de  St.  George,  drama,  3a.  9 
H9.  Chimney’  Corner  (The),  domestic 

drama,  3  acts .  5 

76.  Chops  of  the  Channel,  farce,  1  act..  3 
205.  Circumstances  alter  Cases,  comic 

operetta,  1  act . 1 

149.  Clouds,  comedy,  4  acts.  .  8 

121.  Comical  Countess,  farce,  1  act .  3 


F. 

o 

o 


o 

O 


3 

3 

2 

2 

3 

3 

1 

2 

2 

2 

3 

2 

3 

5 
2 
3 

6 
2 
8 
1 
6 
1 
2 

2 

o 

O 

5 

5 

1 

3 

5 

3 

2 

2 

1 

7 

1 


II.  F. 

222.  Cool  as  a  Cucumber,  farce,  1  act.. . .  3  2 
248.  Cricket  on  the  Hearth,  diama,  8  acts  8  6 


107.  Cupboard  Love,  farce,  1  act .  2  1 

152.  Cupid’s  Eye-Glass,  comedy,  1  act. .  1  1 

52.  Cup  of  Tea,  comedietta,  1  act .  3  1 

148.  Cut  Off  with  a  Shilling,  comedietta, 

1  act .  2  1 

113.  Cyril’s  Success,  comedy,  6  acts _ 10  4 

20.  Daddy  Gray,  drama,  3  acts .  8  4 

286.  Daisy  Farm,  drama,  4  acts . 10  4 

4.  Dandelion’s  Dodges,  larce,  1  act...  4  2 
22.  David  Garrick,  comedy,  3  acts . 8  3 


275.  Day  After  the  Wedding,  farce,  1  act  4  2 
96.  Dearest  Mamma,  comedietta,  1  act..  4  3 

16.  Dearer  than  Life,  drama,  3  acts _ 6  5 

58.  Deborah  (Leah),  drama,  3  acts... ...  7  G 

125.  Deerfoot,  farce,  1  act. . .  .  5  J 

71.  Doing  for  the  Best,  drama,  2  acts..  5  i 
142.  Dollars  and  Cents,  comedy,  3  acts. .  9  4 
204.  Drawing  Boom  Car(A). comedy, 1  act  2  1 

21.  Dreams,  drama,  5  acts .  6  3 

260.  Drunkard’s  Warning,  drama,  3  acts  6  3 
240.  Drunkard’s  Doom  (The),  drama,  2a.l5  5 

263.  Drunkard  (The),  drama.  5  acts . 13  5 

186.  Duchess  de  la  Yalliere.ptav,  5  acts..  6  4 

242.  Dumb  Belie  (The),  farce,  1  act .  4  2 

47.  Easy  Shaving,  farce,  1  act . 5  2 

283.  E.  C.  B.  Susan  Jane,  musical  bur¬ 
lesque,  1  act..  . .  8  1 

202.  Eileeu  Oge,  Irish  drama,  4  acts . 11  3 

315.  Electric  Love,  farce,  1  act .  1  1 

297.  English  Gentleman  (Au),  comcdy- 

drama,  4  acts .  7  4 

200.  Estranged,  operetta.  1  act  .  2  1 

135.  Everybody's  Friend,  comedy,  3  acts  6  5 
230.  Family  Jars,  musical  farce.  2  acts..  5  2 
103.  Faust  and  Marguerite,  drama.  3  acts  9  7 
9.  Fearful  Tragedy  in  the  Seven  Dials, 


interlude,  1  act . 4  1 

123.  Female  Detective,  drama,  3 acts...  .11  4 

jl01.  Fernaude.  drama,  3  .acts . 11  10 

99.  Fifth  Wheel,  comedy,  3  acts . 10  2 

262,  Fifteen  Years  of  a  Drunkard's  Life, 

melodrama,  3  acts . 13  4 

i  145.  First  Love,  comedy,  1  act . 4  1  - 

I  102.  Foiled,  drama.  4  acts .  9  3 

I  83.  Founded  on  Facts,  farce,  1  act . 4  2 


DE  WITT’S  ACTING  PLAYS -Continued. 

- <»  «n  man  »  b» - — 


*59. 
192. 
74. 
53. 
73. 
.  30. 

131. 

276. 
306. 

277. 

206. 

241. 

28. 

151. 

8. 

180. 

03. 

19. 

60. 

191. 

246. 

301. 

224. 
187. 
174. 
211. 

64. 
-190. 
r  197. 

225. 

252. 
18. 

116. 

v«. 

159. 

278. 
282. 

273. 

243. 
271. 

244. 
270. 

274. 
122. 
177. 
100. 
299. 
139. 

17. 

233. 

309. 

86. 

137. 

72. 

144. 

34. 

189. 

253. 
111. 
119. 
239. 

48. 

32. 

164. 
295. 

165. 
228. 


\  M.  F. 

Fruits  of  the  Wine  Cup,  drama,  3  cts  6  3  109. 

Game  of  Cards  (A),  comedietta,  la..  3  1  85. 

Garrick  Fever,  iarce,  1  act .  7  4  |  87. 

Gertrude’s  Money  Box,  iarce,  1  act.  4  2  143. 

Golden  Fetters  (Fettered),  drama,  3.11  4  212. 

Goose  with  the  Golden  Eggs,  iarce,  291. 

1  act . - . ;•  5  3  210. 

Goto  Putney,  farce,  1  act  .  4  3  103. 

Good  for  Nothing,  comic  drama,  la.  5  1  154. 

Great  Success  (A),  comedy,  3  acts..  8  5  63. 

Grimshaw,  Bagshaw  and  Bradshaw,  249. 

farce,  1  act . ^  2  208. 

Heir  Apparent  (The),  farce,  1  act...  5  1  39. 

Handy  Andy,  drama,  2  acts . 10  3  7. 

Happy  Pair,  comedietta,  1  act .  1  1  49. 

Hard  Case  (A),  farce,  1  act .  2  15. 

Henry  Dunbar,  drama,  4  acts . 10  3  46. 

Henry  the  Fifth,  hist,  play,  5  acts.  .38  5  j  51. 
Her  Only  Fault,  comedietta,  1  act..  2  2  302. 

He’s  a  Lunatic,  farce,  1  act .  3  2  184. 

Hidden  Hand,  drama,  4  acts .  5  5  250. 

High  C,  comedietta,  1  act .  3  3  312. 

High  Life  Below  Stairs, farce. 2  acts.  9  5 

Hiuko,  romantic  drama,  6  acts . 12  7  234. 

His  Last  Legs,  farce,  2  acts .  5  3  108. 

His  Own  Enemy,  farce,  1  act .  5  1  188. 

Home,  comedy.  3  acts .  4  3  169. 

Honesty  is  the  Best  Policy,  play,  1.  2  216. 

Household  Fairy,  sketch,  1  act .  1  1  236. 

Hunting  the  Slippers,  farce,  1  act..  4  1  193. 

Hunchback  (The),  play,  5  acts . 13  2 

Ici  on  Parle  Fraucais,  farce,  1  act...  3  4  267. 

Idiot  Witness,  melodrama,  3  acts.  .  6  1  130. 

If  I  had  a  Thousand  a  Year,  farce,  1  4  3  92. 

I'm  not  Mesilf  at  all,  Irish  stew,  la.  3  2  21S. 

In  for  a  Holiday,  farce,  1  act. .  2  3  140. 

In  the  Wrong  House,  farce,  1  acr...  4  2 
Irish  Attorney  (The),  farce,  2  acts..  8  2  115. 

Irish  Broom  Maker,  farce.  1  act ....  9  3  2. 

Irishman  in  London,  fai’ce,  1  acts.  .6  3  j  57. 

Irish  Lion  (The),  farce,  1  act .  8  3  j  104. 

Irish  Post  (The),  drama.  1  act .  9  3  112. 

Irish  Tutor  (The),  farce,  1  act .  5  2  |  298. 

Irish  Tiger  (The),  farce,  1  act .  5  1  185. 

Irish  Widow  (The),  farce,  2  acts _  7  1  84. 

Isabella  Orsini,  drama,  4  acts . 11  4  .  117. 

I  Shall  Invite  the  Major,  comedy,  14  1 

Jack  Long,  drama,  2  acts . .  . .  9  2  171. 

Joan  of  Arc,  hist,  play,  5  acts . 26  6  14. 

Joy  is  Dangerous,  comedy,  2  acts. .  3  3  300. 
Kind  to  a  Fault,  comedy,  2  acts ....  6  4  269. 

Kiss  iu  the  Dark  (A),  farce,  1  act _  2  3  268. 

Ladies'  Battle  (The),  comedy,  3  acts  7  2  173. 

Lady  of  Lyons,  play,  o  acts . 12  5  227. 

L’ Article  47,  drama,  3  acts . 11  5  176. 

Lame  Excuse,  farce,  1  act .  4  2  254. 

Lancashire  Lass,  melodrama, 4  acts. 12  3  33. 

Larkins’. Love  Letters,  farce,  1  act ..  3  2  3. 

Leap  Year,  musical  duality,  1  act _ 1  1  90. 

Lend  Me  Five  Shillings,  farce,  1  act  5  3  170. 

Liar  (The),  comedy,  2  acts .  7  2  289. 

Life  Chase,  drama,  5  acts . 14  5  97. 

Limerick  Boy  (The),  farce.  1  act. ...  5  2  66. 

Little  Annie’s  Birthday,  farce,  1  act.. 2  4  209. 

Little  Hebei,  farce,  1  act  .  4  3  172. 

Little  Ruby,  drama,  3  acts .  6  6  94. 

Little  Em’ly,  drama,  4  acts .  8  8  45. 

Living  Statue  (Tlie),  farce,  1  act. ...  3  2  155. 
Loan  of  a  Lover  (The),  vaudeville,!.  4  1  178. 


&  f. 

Locked  iu,  comedietta,  1  act .  3  2 

Locked  in  with  a  Lady,  sketch .  1  1 

Locked  Out,  comic  scene .  1  1 

Lodgers  and  Dodgers,  farce,  1  act..  4  2 
London  Assurance,  comedy,  5  acts.  10  3 

M.  P..  comedy,  4  acts .  7  2 

Mabel's  Manoeuvre,  interlude,  1  act  1  3 

Marcoretti,  drama,  3  acts . 10  3 

Maria  and  fllagdalena,  play,  4  acts..  8  G 
Marriage  at  any  Price,  farce,  1  act..  5  3 
Marriage  a  Lottery,  comedy,  2  acts.  3  4 
Married  Bachelors,  comedietta,  la,.  3  2 
Master  Jones’  Birthday,  farce,  1  act  4  2 

Maud’s  Peril,  drama,  4  acts .  5  3 

Midnight  Watch,  drama,  1  act . 8  2 

Milky  White,  drama,  2  acts .  4  2 

Miriam’s  Crime,  drama,  3  acts . 5  2 

Model  of  a  Wife,  farce,  1  act .  3  2 

Model  Pair  (A),  comedy,  1  act . 2  2 

Money,  comedy,  5  acts .  17  3 

More  Blunders  than  One,  farce,  la.  4  3 
More  Sinned  against  than  Sinning, 

original  Irish  drama,  4  acts . 11 

Morning  Call  (A),  comedietta,  1  act.  1  1 

Mr.  Scroggins,  farce,  1  act .  3  3 

Mr.  X.,  farce,  1  act .  3  3 

My  Uncle’s  Suit,  farce,  1  act . 4  1 

My  Neighbor’s  Wife,  farce,  1  act _ 3  3 

My  Turn  Next,  farce.  1  act .  4  3 

My  Walking  Photograph,  musical 

duality,  1  act .  1  1 

My  Wife's  Bonuet.  farce,  1  act .  3  4 

My  Wife’s  Diary,  farce,  1  act .  3  1 

My  Wife’s  Out,  farce,  1  act .  .  2  2 

Naval  Engagements,  farce,  2  acts. . .  4  2 
Never  Reckon  your  Chickens,  etc., 

farce.  1  act .  3  4 

New  Men  and  Old  Acres,  comedy,  3  8  5 

Nobody’s  Child,  drama,  3  acts . 18  3 

Noemie,  drama,  2  acts..  .  4  4 

No  Name,  drama,  5  acts . .  7  5 

Not  a  bit  Jealous,  iarce,  1  act . 3  3 

Not  if  I  Know  it,  iarce,  1  act .  4  4 

Not  so  bad  as  we  Seem,  play,  5  aets.13  3 

Not  Guilty,  drama,  4  acts . 10  6 

Not  such  a  Fool  as  he  Looks,  drama, 

3  acts .  5  4 

Nothing  like  Paste,  farce,  1  act _  3  I 

No  Thoroughfare,  drama,  5  acts. ...  13  6 

Notre  Dame,  drama,  3  acts . 11  8 

Object  of  Interest  (An),  iarce,  1  act.  4  3 
Obstinate  Family  (The),  farce,  1  act.  3  3 

Off  the  Stage,  comedietta.  1  act _  3  3 

Omnibus  (The),  farce,  1  act . 5  4 

On  ‘Bread  and  Water,  farce,  1  act...  1  2 

One  Too  Many,  farce,  1  act .  4  2 

One  Too  Many  for  Him,  farce,  1  act  2  3 

£100,000,  comedy,  3  acts .  8  4 

Only  a  Halfpenny,  fai-ce;  1  act .  2  2 

Only  Somebody,  farce,  1  act .  4 

On  the  Jury,  drama,  4  acts .  5 

Orange  Blossoms,  comedietta,  1  act  3 

Orange  Girl,  drama.  4  acts . 18 

Othello,  tragedy,  5  acts . 16 

Ours,  comedy,  3  acts .  6 

Our  Clerks,  farce,  1  act  . .  7  5 

Our  Domestics,  comedy-farce,  2  acts  6  6 
Our  Heroes,  military  play,  5  acts..  .24  5 
Out  at  Sea,  drama,  5  acts . . .  17  5 


ce  tcif-  w  vi  t> 


DE  WITT’S  ACTING-  PLATS, -Continued. 


M.  F. 

147.  Overland  Route,  comedy,  3  acts _ 11  5 

305.  Pair  of  Shoes  (A),  farce,  1  act . 4  3 

285.  Partners  for  Life,  comedy,  3  acts _ 7  4 

155.  Peace  at  any  Price,  farce,  1  act . 1  1 

82.  Peep  o’  Lay,  drama,  4  acts . 12  4 

127.  Peggy  Green,  farce,  1  act . 3  10 

23.  Petticoat  Parliament,  extravaganza, 

1  act . 15  24 

293.  Philomel,  romantic  drama,  3  acts...  0  4 

G2.  Photographic  Fix,  farce,  1  act .  3  2 

61.  Plot  and  l^assion,  drama,  3  acts.  ...  7  2 
138.  Poll  aud  Partner  Joe,  burlesqe,  la. .10  3 

217.  Poor  Pillicoddy,  farce,  1  act .  2  3 

110.  Poppleton’s  Predicaments,  farce,  la.  3  6 

50.  Porter’s  Knot,  drama,  2  acts .  8  2 

59.  Post  Boy,  drama.  2  acts .  5  3 

95.  Pretty  Horse-Breaker,  farce  .  3  10 

280.  Pretty  Piece  of  Business  (A),  come¬ 
dy,  1  act . 2  3 

181.  182.  Queen  Mary,  drama,  4  acts _ 37  9 

196.  Queerest  Courtship  (The),  comic 


operetta,  1  act .  1  1 

255.  Quiet  Family,  farce,  1  act . 4  4 

157.  Quite  at  Home,  comedietta,  1  act...  5  2 

132.  Race  for  a  Dinner,  farce,  1  act . 10 

237.  Regular  Fix  (A),  farce;  1  act .  6  4 

183.  Richelieu,  play,  5  acts . 12  2 

38.  Rightful  Heir-,  drama,  5  acts . 10  2 

77.  Roll  of  the  Drum,  drama,  3  acts _  8  4 

316.  Romeo  on  the  Gridiron  (Al,  mono¬ 
logue,  for  a  lady .  1 

195.  Rosemi  Shell,  burlesque,  4  scenes..  6  3 
247.  Rough  Diamond  (The),  farce,  1  act.  6  3 

194.  Rum,  drama,  3  acts .  7  4 

13.  Ruy  Bias,  drama,  4  acts . . . 12  4 

229.  Sarah's  Young  Man,  farce,  1  act _ 3  3 

158.  School,  comedy,  4  acts .  6  6 

201.  School  for  Scandal,  comedy,  5  acts. .13  4 
264.  Scrap  of  Paper  (A),  comic  drama,  3a.  6  6 

79.  Sheep  inWolf’s  Clothing,  drama,  la.  7  5 


203.  She  Stoops  to  Conquer,  comedy,  5a.l5  4 


37.  Silent  Protector,  farce.  1  act ,... .  3  2 

35.  Sileut  Woman,  farce,  1  act .  2  1 

213.  Single  Married  Man  (A),  comic  ope¬ 
retta,  1  act . . 6  2 

43.  Sisterly  Service,  comedietta,  1  act..  7  2 
6.  Six  Months  Ago,  comedietta,  1  act..  2  1 
221.  Slasher  and  Crasher,  farce.  1  act...  5  2 
10.  Snapping  Turtles,  duologue,  1  act. ..1  1 


26.  Society,  comedy,  3  acts . 16  5 

2n7.  Sold  Again,  comic  operetta,  1  act...  3  1 

894.  Sparking,  comedietta,  1  act .  1  2 

78.  Special  Performances,  farce,  1  act. .  7  3 
215.  Still  Waters  Run  Deep,  comedy,  3a.  9  2 
*256.  Sweethearts,  dramatic  contrast,  2a..  2  2 
232.  Tail  (Tale)  of  a  Shark,  musical  mon¬ 
ologue,  1  scene .  1 

31.  Taming  a  Tiger,  farce,  1  act .  3 

150.  Tell-Tale  Heart,  comedietta.  1  act..  1  2 

120.  Tempest  in  a  Teapot,  comedy,  1  act  2  1 


M.  V,  f 


257.  Ten  Nights  in  a  Bar  Room,  drama, 

5  acts .  8  2 

146.  There’s  no  Smoke  without  Fire, 

comedietta,  1  act .  1  2 

83.  Thrice  Married,  personation  piece, 

1  act . 6  1 

245.  Thumping  Legacy  (A),  1  act......  ..  7  1 

251.  Ticket  of  Leave  Man,  drama,  4  acts.  9  3 
42.  Time  and  the  Hour,  drama,  3  acts.  7  3 
27.  Time  and  Tide,  drama,  4  acts .  7  5 

133.  Timothy  to  the  Rescue,  farce,  1  act  4  2 
153.  'Tis  Better  to  Live  than  to  Die, 

farce,  1  act . 2  1 

134.  Tompkins  the  Troubadour,  farce.  1.  3  2 


272.  Toodles  (The),  drama,  2  acts . 10  2 

235.  To  Oblige  Benson,  comedietta,  1  act  3  2 

238.  Trying  It  On,  farce,  1  act .  3  3 

29.  Turning  the  Tables,  farce,  1  act.  ..5  3 

214.  Turn  Him  Out,  farce.  1  act .  3  2 

168.  Tweedie’s  Rights,  comedy,  2  acts. .  4  2 

126.  Twice  Killed,  farce,  1  act .  6  3 

234.  ’Twixt  Axe  and  Crown,  play,  5  acts. 24  13 
198.  Twin  Sisters,  comic  operetta.  1  act.  2  2 

265.  Two  Bounycastles,  farce,  1  act .  3  3 

220.  Two  Buzzards  (The),  farce,  1  act _ 3  2 

56.  Two  Gay  Deceivers,  face,  1  act .  3 

123.  Two  Polts,  farce.  1  act .  4  4 

288.  Two  Roses  (The),  comedy,  3  acts. . .  7  4 
292.  Two  Thorns  (The),  comedy,  4  acts..  9  4 
294.  Uncle  Dick’s  Darling,  drama,  3  acts  6  5 

162.  Uncle’s  Will,  comedietta,  1  act .  2  '? 

106.  Up  for  the  Cattle  Show,  farce,  1  act  6  2 

81.  Vandyke  Brown,  farce,  1  act .  3  3 

317.  Veteran  of  1812  (The),  romantic  mil¬ 
itary  drama,  5  acts . 12  2 

124.  Volunteer  Review,  farce,  1  act .  6/6 

91.  Walpole,  comedy  in  rhyme .  7f  2 

118.  Wanted,  a  Young  Lady,  farce,  1  act.  2  1 
231.  Wanted.  One  Thousand  Spirited 
Young  Milliners  for  the  Gold  Re¬ 
gions,  farce,  1  act . 3  7 

44.  War  to  to  the  Knife,  comedy,  3  acts  5  4 


311.  What  Tears  can  do,  comedietta,  la..  3  2 
105.  Which  of  the  Two?  comedietta,  la..  2  10 
266.  Who  Killed  Cock  Robin?  farce,  2a..  2  2 

98.  Who  is  Who?  farce . 3  2 

12.  Widow  Hunt,  comedy,  3  acts .  4  4 

213.  Widow*  (The),  comedy,  3  acts .  7  6 

5.  William  Tell  v*ith  a  Vengeance,  bur¬ 
lesque  . 8  2 

|  Window  Curtain,  monologue. .. .  1 

*  I  Circumstantial  Evidence  “  _  1 

136.  Woman  in  Red,  drama,  4  acts .  6  8 

161.  Woman’s  Vows  and  Masous’  Oaths. 

drama,  4  acts . .10  4 

11.  Woodcock’s  Little  Game,  farce.  2a..  4  4 
290.  Wrong  Man  iu  the  Right  Place  (A), 

farce,  1  act .  .  2  3 


54.  Young  Collegian,  farce,  1  act .  3  J 


A  COMPLETE  DESCRIPTIVE  CATALOGUE  OF  DE  WITT’S  ACT' 
ING  PLAYS  AND  DE  V/ITT’S  ETHIOPIAN  AND  COMIC  DRAMAS, 


containing  Plot,  Costume,  Scenery,  Time  of  Representation,  and  all  other  informa¬ 
tion,  mailed  free  and  post  paid  on  application.  Address 

I>E  WITT,  33  Bose  Street.,  IVew  York. 


DE  WITT’S  ETHIOPIAN  AND  COMIC  DiUMA.— Continued. 


M.  F. 


M.  F. 


33.  Jealous  Husbaud,  sketch .  2  1 

94.  Juirns  the  Snoozer.  burlesque,  3  sc.  6  1 
!  103.  Katrina’s  Little  Game,  Dutch  act, 

1  scene .  1  1 

1.  Last  of  the  Mohicans,  sketch .  3  1 

36.  Laughing  Gas,  sketch,  1  scene .  6  1 

18.  Live  Injun,  sketch,  4  scenes .  4  1 

160.  Lost  Will,  sketch . . .  4 

37.  Lucky  Job,  farce,  2  scenes .  3  2 

90.  Lunatic  (The),  farce,  1  scene .  3 

109.  Making  a  Hit,  farce,  2  scenes .  4 

19.  Malicious  Trespass,  sketch,  1  scene.  3 
149.  ’Meriky,  Ethiopian  farce,  1  scene. . .  3  1 
151.  Micky  Free,  Irish  sketch,  1  scene..  5 
96.  Midnight  Intruder,  farce,  1  scene  .  6  1 


147.  Milliner’s  Shop  (The),  Ethiopian 


sketch,  1  scene .  2  2 

129.  Moko  Marionettes,  Ethiopian  eccen¬ 
tricity,  2  scenes .  4  5 

101.  Molly  Moriarty,  Irish  musical 

sketch,  1  scene .  1  1 

117.  Motor  Bellows,  comedy,  1  act .  4 


44.  Musical  Servant,  sketch.  1  scene —  3 
8.  Mutton  Trial,  sketch,  2  scenes  ....  4 
119.  My  Wife’sVisitors,  comic  drama, lsc.  6  1 
si  49.  Night  in  a  Strange  Hotel, sketch, lsc.  2 
132.  Noble  Savage,  Ethi’n  sketch,  1  sc. ..  4 
l|  145.  No  Pay  No  Cure,  Ethi’n  sketch,  1  sc.  6 
22.  Obeying  Orders,  sketch,  1  scene....  2  1 


27.  100th  Night  of  Hamlet,  sketch .  7  1 

125.  Oh,  Hush!  operatic  olio .  4  1 

30.  One  Night  in  a  Bar  Room,  sketch . .  7 

114.  One  Night  in  a  Medical  College, 

^  Ethiopian  sketch,  1  scene .  7  1 

76.  One,  Two,  Three,  sketch,  1  scene..  7 

91.  Painter’s  Apprentice,  farce,  1  scene.  5 
87.  Pete  and  the  Peddler,  Negro  and 

Irish  sketch,  1  scene .  2  1 

135.  Pleasant  Companions,  Ethiopian 

sketch,  1  scene . 5  1 

92.  Polar  Bear  (The),  fai’ce,  1  scene.  ...  4  1 

9.  Policy  Players,  sketch,  1  scene .  7 

57.  Pompey’s  Patients,  interlude,  2  sc.*  6 

65.  Porter’s  Troubles,  sketch,  1  scene..  6  1 

66.  Port  Wine  vs.  Jealousy,  sketch .  2  1 

115.  Private  Boarding,  comedy,  1  scene.  2  3 

14.  Recruiting  Office,  sketch,  1  act .  5 

105.  Rehearsal  (The),  Irish  farce,  2  sc. . .  3  1 
45.  Remittance  from  Home, sketch,  1  sc.  6 
55.  Rigging  a  Purchase,  sketch,  1  sc. ..  3 


81.  Rival  Artists,  sketch,  1  scene .  4 

26.  Rival  Tenants,  sketch .  4 

138.  Rival  Barbers’  Shops  (The).  Ethio¬ 
pian  farce,  1  scene .  6 

15.  Sam’s  Courtship,  farce,  1  act . . .  2 

59.  Sausage  Makers,  sketch,  2  scenes..  5 

21.  Scampiui,  pantomime,  2  scenes _ 3 

80.  Scenes  on  the  Mississippi,  sketch, 

2  scenes . . .  6 

84.  Serenade  (The),  sketch,  2  scenes _  7 

38.  Siamese  Twins,  sketch,  2  scenes. ...  5 
74.  Sleep  Walker,  sketch,  2  scenes .  3 

46.  Slippery  Day,  sketch,  1  scene .  6 

69.  Squire  lor  a  Day,  sketch .  5 

56.  Stage-struck  Couple,  interlude,  1  sc.  2 

72.  Stranger,  burlesque,  1  scene  .  1 

13.  Streets  of  New  York,  sketch,  1  sc. . .  6 

16.  Storming  the  Fort,  sketch,  1  scene.  5 

7.  Stupid  Servant,  sketch,  1  scene _  2 

121.  Stocks  Up!  Stocks  Down!  Negro 

duologue,  1  scene .  2 

47.  Take  It,  Don’t  Take  It,  sketch,  1  sc.  2 

54.  Them  Papers,  sketch,  1  scene .  3 

100.  Three  Chiefs  (The),  sketch,  1  scene.  6 

102.  Three  A.  M.,  sketch,  2  scenes . 3 

34.  Three  Strings  to  one  Bow,  sketch, 

1  scene  ...  4 

122.  Ticket  Taker,  Ethi’ii  farce,  1  scene.  3 

2.  Tricks,  sketch . 5 

104.  Two  Awfuls  (The),  sketch,  1  scene..  5 
5.  Two  Black  Roses,  sketch .  4 


28.  Uncle  Eph’s  Dream,  sketch,  2  sc. . .  3 
134.  Unlimited  Cheek,  sketch,  1  scene..  4 

62.  Vinegar  Bitters,  sketch,  1  sceue _  6 

32.  Wake  up,  William  Henry,  sketch...  3 
39.  Wanted,  a  Nurse,  sketch,  1  scene...  4 
75.  Weston,  the  Walkist,  Dutch  sketch, 

1  scene . .  7 

93.  What  shall  I  Take?  sketch,  1  scene.  7 

29.  Who  Died  First ?  sketch,  1  scene..  .  3 

97.  Who's  the  Actor?  farce,  1  scene _ 4 

137.  Whose  Baby  is  it  ?  Ethiopian  sketch, 


1  scene .  2 

143.  Wonderful  Telephone  (The),  Ethio¬ 
pian  sketch,  1  scene . . . 4 

99.  Wrong  Woman  in  the  Right  Place, 

sketch,  2  scenes  .  2 

85.  Young  Scamp,  sketch,  1  scene.. _  3 

116.  Zacharias’  Funeral,  farce,  1  scene..  5 


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A  COMPLETE  DESCRIPTIVE  CATALOGUE  OF  DE  WITT’S  ACT¬ 
ING  PLAYS  AND  DE  WITT’S  ETHIOPIAN  AND  COMIC  DRAMAS, 


containing  Plot,  Costume,  Scenery.  Time  of  Representation,  and  all  other  informa¬ 
tion,  mailed  free  and  post  paid  on  application.  Address 


DE  WITT,  Publisher, 

33  Rose  Street,  New  York. 


An  Miswsallt  Boot  for  Amateurs. 

HOW  TO  MANAGE 
AMATBTJB  THEATBICALS, 

Being  plain  instructions  for  construction  and  arrangement  of  Stage, 
making  Scenery,  getting  up  Costumes,  “ Making  Up  ”  to  represent 
different  ages  and  characters,  and  how  to  produce  stage  Illusions  and 
Effects.  Also  hints  for  the  management  of  Amateur  Dramatic  Clubs, 
and  a  list  of  pieces  suitable  for  Drawing  Room  Performances.  Hand¬ 
somely  illustrated  with  Colored  Plates. 

Price ,  25  Cents. 

DE  WITT’S  SELECTIONS 


tor 

AMATEDR  AKE  PARLOR  THEATBICALS. 

Nos.  1,  2,  3,  4  &  5. 

Being  choice  selections  from  the  very  best  Dramas,  Comedies  and 
Farces.  Specially  adapted  for  presentation  by  Amateurs,  and  for 
Parlor  and  Drawing  Room  Entertainments. 

Each  number ,  25  Cents. 


PANTOMIME  PLAY, 

“HUMPTY  DUMPTY.” 

The  celebrated  Pantomime,  as  originally  played  for  1,000  nights  by  tli 
late  George  L.  Fox.  Arranged  by  John  Denier,  Esq.  Eight  malt 
four  female  characters. 


Price ,  25  Cents , 


I 


fc 


